The One Hit Wonders of the Puja Box Office!!

The number of Barowari (Community) Pujas in Kolkata and its peripheries has been increasing over the past 30 years and currently around 2500 Community Pujas are getting staged every year.  With the municipal area of this megapolis increasing every passing year and Kolkata pincodes now setting newer benchmarks, the number of committees organising Durga Pujas has also maintained a steady growth. During my childhood days which were some aeons ago, the nobility of city’s Pujas were more or less dotted around Chittaranjan Avenue & Vivekananda Road in the North and Bhowanipore, Park Circus & Gariahat in the South. Over the years the Puja demography has changed comprehensively. Whereas the core of the famed Pujas still remained at the heart of the city, many big Committees have cropped up and developed in the erstwhile Puja-fallow sections of the city such as Kasba, Santoshpur & Naktala in the extreme South; Alipore, Khidderpore & Behala in the West; Beleghata, Saltlake & Lake Town in the East and Sinthee, Tala & Belgachhhia in the outermost North. In addition to these, a lot of new entrants have also fostered within the traditional Puja coteries of Kolkata that ultimately have resulted in the spectators having to cover more Pujas in that measly window of 4-5 days. On an average each year the counts of high quality Pujas have risen anywhere close to 150. And the Puja Map of Kolkata has now perfunctorily extended from Baguihati in the Eastern fringes to Joka in the West; and from Bon Hooghly in the Northern edges to Rajpur in the extreme South. And that is not a trifling deal… the above Map would easily enfold no less than 50 sq.km both in length and breadth. So the job of covering most of the top-rated Pujas is increasingly becoming arduous for the standard Puja watcher.

Statistically speaking, there are about 60-70 Puja committees that can easily be termed as top draw organisers who generally present worthy exhibits every year in terms of Idols, Themes and also generate high public buzz through various forms of media thereby enticing maximum footfalls. Apart from these established behemoths, it has been observed that each year there have been instances of a handful of Puja Committees who manage to muster memorable displays only to dwindle away later and not quite repeat the magic of that particular year. The reason behind such a solitary year upsurge could be many, but if traced to the most plausible one that would be – Anniversary Jubilees. Most of the lesser clubs generally conserve their financial resources for one big splurge for the commemoration of their Silver/Golden/Platinum Jubilees where they would attract reasonably more sponsorship monies and voluntary patronage through increased advertising promotion and publicity. These additional funds result in commissioning of renowned Theme-makers and artisans who play their part in creating a noteworthy tableau for that specific year. Obviously, such presentations escalate the generic equities of that Puja committee amongst the audiences for that season and rightfully those exhibits linger in the minds of the commoners for a long, long time. The writing is clearly on the wall for all these lesser clubs to achieve the much anticipated stardom and probably a coveted status in the Hall of Puja Fame in the years that follow. Unfortunately, the subsequent years do not quite witness the likely meteoric rise to glory and the Puja Committees sadly still remain as fringe Clubs trying to steal the thunder from under the nose of the biggies.

So let me dig into some of the modern day single-hit sensations of past few years who have shot into fame but fizzled out without making serious inroad into the hearts of the appreciative Puja viewership. For the cricket buff, in cricketing jargons lets compile the Puja equivalents of Andy Ganteaume or Charles Marriott or even closer to our homes, Lt-Gen Yadavendra Singh, the Yuvraj of Patiala. These Pujas still vie for footfalls every year and constantly provide creative threats to the established committees. These Pujas have been selected from the past 14-odd years and as one would observe few of them come from the not-so-core Puja famed localities of the city.

Behala Young Men’s Association (2006)

The first on this listicle is a quaint Committee located on the eastern fringes of Behala. At a time when, most Pujas chose to depend on established Theme makers and larger-than-life concepts, these organisers decided to go against the tide. They commissioned community children of various ages to design the Mandap and its interiors. Although the decision might have seemed largely speculative and unplanned, the finished product came out surprisingly novel. The committee had cleverly also included a lot of artworks from a host of underprivileged kids from in and around their locality which created the requisite PR buzz for the Puja. The juvenility and rawness of the Mandap, the unkemptness of the project portrayed the virtual innocence of the Theme, something that was appreciated by one and all. The Idol also in its puerile avatar was in tandem with the overall premise. The Theme worked very well for the year, and brought home a number of accolades but sadly the Club could never repeat the same performance in the later years.

The Goggle-eyed Deity with child-friendly graffiti art as background  

Shitalatala Kishore Sangha (2007)

Peripheral localities of Behala have propped up with really thought-provoking concepts giving us memorable moments almost every year. This one, depicted the "Aanchal of the Goddess" which embodied prosperity, harmony, affluence, knowledge, dominance. The topic of the Theme was reinstated by the same piece of Devi’s Saree extending and enveloping the entire Mandap & all her wards who similarly represent the above virtues. The Theme in its linear execution and clarity was an instant crowd puller and even got shortlisted as one of the finalists of Asian Paints Sharad Shamman. Similar quality of work somehow wasn't replicated and the committee still continues to bask in the glory of its much haloed neighbours.

The Mandap with a small waterbody resembling some of the old world
Hindu Temple sites

The minimalistic imagery with Devi's Aanchal extended symbolising
Protective shelter for the entire mankind 

The Walls showcased Bamboo and Clay craft of Bengal on a Red & White background

AH Block, Saltlake (2008)

I have diligently followed Saltlake Pujas over the past 20 years with the belief that most Block Committees have the requisite resources & gumption to fund & execute quality ventures. Unfortunately, this has remained a distant hope for many of us, as none of the Saltlake Pujas have been able to come out of the shackles and pull out a soul stirring performance. Some of the Blocks in certain years have definitely attracted crowds but those reasons were little to do with the aesthetic quotient of the project. AH Block Sarbojanin was a pleasant outlier that year presenting an extremely chic pavilion and idol. The entrance had an embellished elephant replica greeting the audience, designed in the typical Rajputana style. The orbital façade and the frescos inside the Mandap in various shades of beige were all created with various wood smithereens, shards and dust stuck together cohesively. The Mandap was designed as a half-cupola, something pretty uncommon those days drawing rave reviews. The idol in its traditional form was also a treat. Though this could have been a solid platform for the organisers for subsequent years, the Club has stayed under the radar for the Puja aficionados.

The ornate Elephant welcoming the Guests at the Entrance 

Gigantic Murals set in Earthy Pastels 

The Semi circular gateway to the main Sanctum

Wall Frescos also matched up to the earthy
tone of the Pavilion

Simple yet Vibrant Devi in her Ek Chala Version

Tangra Gholpara (2009)   

The South Eastern fringes of the city hasn’t ever been a hotspot for Pujas, and the moderately lengthy stretch between Saltlake and Park Circus has been a null activity Puja zone. The locality is far more accepted as the Chinatown of Kolkata, dotted with Restaurants chequered along the narrow alleys serving up delectable Indian Chinese cuisine. So when a Puja committee crops up in such a quaint neighbourhood, there would have to be ample interest. The Committee put up an exquisite display of iron cast carvings showcased on wooden panels. The Mandap was a semi-open pavilion primarily in deep brown retaining the colour of the polished timber. The walls of the Pandal were tastefully decked up with filigree work on iron bars, while multiple murals depicted mythological characters all across the interiors. The idol, inspired by the Dzongkha form of art was also novel in its own ways. Despite being nominated as one of the Finalists for Asian Paints Sharad Shamman 2009, the Club could not live up to its promise in the subsequent years.

Exquisite Wood Plank artistry adorning the Entrance  

Iron Sheet Panel Carvings on the Walls depicting scenes from
Hindu Mythology

Intricate Filigree work on the Walls surrounded the entire Arena

Circular domed Main Sanctum

Deity resembling Dzongkha Art form

Pally Unnayan Samity, Paschim Putiary (2010)

The Southern bank of the ill-famed Tolly Nullah constitutes a densely inhabited sector of extreme South Kolkata. Yet, the Puja razzmatazz is palpably low in this part of the city for some unknown logic. Kathputli Dance is a very popular version of string puppetry in Rajasthan. The marionettes were made entirely from wood covered with cotton cloth and tied with a metal wire which acts as string that passes from the top of the puppet to be manipulated by the skilful puppeteers. The Club initiated the innovative idea of displaying idols in the form of these Rajasthani wood puppets. This colourful presentation was depicted masterfully by Prasanta Pal with Kathputli dummies and traditional Rajputana murals all over the Pandal façade. This performance bagged a lot of notice and honours, which could have got them introduced into the bigger league instead the Club fizzled out in the later years.

Rajasthani Puppets lined up at
the Entrance

Splash of Earthy Colours

Mandap Outer Walls depicting traditional Rajasthani imagery

The Semi-enclosed pavilion showcasing bamboo meshwork as canopy
 

Legends chronicled through Paneled Frescos

Ceiling Fascia portraying Krishna-Leela

Idol in tandem with the entire ambiance and theme

Sanghasree (2011)      

This one is a bit of an outlier in this listicle. Once a true pioneer in the 60’s and 70’s in terms of propelling new age commercialism and gimmick in Puja viewership, was marred by decades of lull till it got a fresh lease of stimulus in 2011. Sushanta Pal’s DUGGA DARSHAN was the theme for this season. The display had a 3 dimensional feel. The entire pandal was decorated with small handmade paper collages. The idol’s entire look was also created with these collages which from a distance resembled glazed tile work. Transparent rooftop sheets were used with LED lights for wall decoration. Several red Tridents were placed throughout the Mandap symbolising the elimination of the evil by Devi Durga. In spite of this creditable accomplishment, Sanghasree did not make much inroads into the hearts of the Puja audiences in any of the subsequent years.

The duochrome Mandap largely dark was cleverly illuminated by LEDs

Cherry Red Tridents on the outer facade of the sanctum demonstrating Mahishasura's execution 

Interesting colour scheme on abstract designs presented across Glazed Tiles and Asbestos Sheets 

Glazed Tile textured Idol

Dum Dum Park Jubak Brinda (2012)

Dum Dum Park and it’s adjoining areas of Keshtopur, Lake Town etc gave the eastern peripheries of the city a significant Puja hotspot delivering quality end products every season. While the usual suspects of the zone still continue to belt out memorable stuff each year, there have also been a few other Clubs in the vicinity who have provided unanticipated spikes with their ingeniousness. Artiste, Debatosh Kar created the Mandap in the shape of a huge bee hive showcasing the Japanese art of Kirigami (a variation of origami that includes cutting of the paper and use of adhesives). While the outer facade used adorable coloured papads and paper frills, the interiors were bedecked with innovative use of the paper craft. The entrance to the pavilion was lined on both sides with Kirigami sunflowers. The ceiling panels depicted popular rhymes and fables. The walls illustrated various frolics and tales of Lord Krishna. A focal column stood resembling a tree with birds on its branches spreading out to the sky as rays of the sun. The Idol was very beautiful in its sobriety. An arch of sunflowers led to the goddess, whose ornaments were also crafted in Kirigami. This was an excellent example of how an International handicraft could be masterfully adapted as a Puja pavilion display. Surprisingly, the organisers failed to reproduce similar results in any of the following years.

Snapshot of the somewhat elliptic Mandap

The frontage created with colourful unfried Papads

Kirigami Sunflowers lined up at both sides

Kirigami artworks on the Ceiling

Multicoloured Motifs depicting events from Sree Krishna's Life

Kirigami art on display across the Sanctum

The exquisite deity on Display

Agradut Uday Sangha (2013)

Bhowanipore and Kalighat once formed the nucleus of Kolkata’s Puja smuggle, which over the years got abated due to a plethora of reasons. Some of this zone’s bigger clubs of yore, could not keep up with the breakneck speed of commercialism that crept into Pujas. Bhowanipore/Kalighat lost it’s Puja sheen. But then there have been instances where one club has popped up almost unexpectedly out of the blues and delivered a stand out performance. One such example was this club wedged in the absolute by-lanes of Kalighat who commissioned Gouranga Kuilya, the President’s Awardee for the year’s Theme execution. The theme coined as “Manasa Mangal” spoke of Snakes and their age-old relevance in Hindu myths and legends. The entire Mandap was curated with AC Insulation tubes as the primary component. These longitudinal ducts were entwined across the length of the Mandap thus imparting a serpentine ambience. The Artiste’s trickery with lights also gave a unique dimension to the entire Theme which was rounded off with a signature Kuilya idol. The Club received immense adulation with this project, though the performances in the ensuing years failed to flatter.

Chand Saudagar from the Manasa Mangal songlet portrayed at the Entrance

Inky Blue Tones translated a somewhat dark Theme 

Resplendent usage of multi-hued sinuous AC ducts set up the inner walls and ceiling

Devi in her signature mollifying Avatar

Buroshibtala Janakalyan (2014)

The lesser known neighbourhoods of Behala tend to produce some breath-taking stuff across the years. One of the newer entrants to the Behala Brigade was this club which announced it’s presence with a magnum opus. Shakti Sharma’s “Ganga, my Mother” portrayed her children desperately seeking help and protesting against rampant river pollution. The sanctum of the Goddess was a massive Singhamukhi Bawjra (Lion-Headed Boat) made of “Shirish” wood brought in from Orissa. The waves in the river were represented as hands reaching out for aid against the ominous water pollutants. The foyer had been smartly recreated to reveal the uncontaminated underwater ecosystem which the Devi will assist restoring.  The Durga image was a dazzling exhibit seated amidst the waves of Ganga quelling the demons of effluence thereby revitalising the arterial waterbody of Bengal. Even tho' the décor was a wee bit overt, extensive detailing in a huge canvas deserved plaudits which resulted in bagging the Asian Paints Sharad Samman Overall Winner for the year.

Lion-headed Ship as the main sanctum, reminiscent of ancient Phoenician water-crafts  

The Gangetic Aquaman!!

Greco-Roman Rowers

The Ornate Interiors

The Gala seat for Devi & Her Wards

Beautifully Crafted Image

Haridevpur New Sporting (2015)

The Haridevpur Zone of western Tollygunge has always boasted of colossal Puja traffic with 3 behemoths almost at touching distance of each other. The extremely narrow yet busy thoroughfare would give you cringes for sure, but generally the quality of artworks at your visual disposal will floor you time and again. I sincerely thought that this locality further would not have the bandwidth to accommodate another even moderately big Puja. I was wrong, and this year saw the emergence of yet another Club which promised to match the snazziness of the established Committees. With Amar Sarkar, one of the pioneer Theme Makers at the helm, this Club aimed at Puja glory. The concept of the display was spun around the old-school rag & cloth dolls which have been prevalent in everyday lives of the Bengalis. The pavilion was choreographed in bright colours with multi-sized figurines installed all over. The interiors also had a splash of vibrant Alpana work on the ceiling and walls which were in harmony with the disposition of the idea. A neat execution of the Theme fetched awards aplenty this year but the Club could never match similar quality subsequently for reasons unknown.

Bengal's traditional Stuffed Toy art as the cynosural Installation 

Simple bamboo-based handicraft on the Walls

The Ceiling decked up with Alpana Art

The Lovable Deity 

BL Block, Saltlake (2016)

The Pujas of Saltlake as elucidated earlier in the piece and in many of my Puja epilogues have always been like an enigma, auguring a hell lot but delivering blanks. The outliers have been very few and far between and only a selected few blocks have managed to buck the trend. This has got to do with the fact that where most Pujas here are guided more by pomp than creative content. But then there have been exceptions. Conceptualised by an extremely talented architect/designer Mithun Roy, which was also his first tryst with Puja Themes, with apt guidance from Filmfare Awardee Tanmoy Chakrabarti this was clearly the best in Saltlake for the year. The main dome made with bent bamboos offered a fiery expression whilst the mollifying red interiors complimented an excellently debonair display. The Idol was an absolute delight epitomising the theme - Naari Shakti. This was a perfect stage for the organisers to leapfrog into the big league something which unfortunately never happened.

The fiery frontage created by simple structural bamboo designing 

Interiors draped completely in red frills, and minimalistic yet focussed lights

Conch Shell & Red Coral Bangles suspended in mid-air portraying the quintessential womanhood  

Brilliant Idol

PURBACHAL SHAKTI SANGHA (2017)

Kasba is a unique zone of Kolkata quite similar to Behala with regards to infrastructure and populace. Durga Pujas, here too have been late bloomers like those in Behala. Over the past 20-odd years Kasba area has started to attract massive footfalls primarily due to the presence of 2/3 Committees who occupy the pole positions at the main arterial road of the locality. The interior regions still have largely been quiet in terms of Puja highpoints. The paucity of even moderately mid-sized clubs in this zone, has literally turned this into a blind spot during the festive week. However, there have been sporadic attempts from some of the smaller clubs of this neighbourhood to break away from the hackneyed. One such effort was a memorable one. Created by one of the most seasoned campaigners in Puja displays, Somnath Mukherjee, the theme was coined as “Bhangbo, Gorbo, Lorbo!”. The primary constituents for the Mandap were wooden logs and stumps of varied sizes which were then expertly sculpted into diverse forms/characters. Multiple hues of beige ensured a sublime ambience. The walls and ceilings also presented scenic frescos from the mythology while the image was a sight for sore eyes.

Installed Busts at the Entrance 

Walls depicting various Yogic Mudras

Carved Wood Stumps

Samudra Manthan scene on the intramurals

The cherubic Devi

Dakshin Kolkata Sarbojanin (2018)          

There’s a strange thing about Kolkata Pujas which is almost a consistent fact every year. The more you feel that you would know nearly all the reasonably watchable Pujas and thus make your plans accordingly, the higher is the propensity of falling flat. Without fail, there would be new committees emerging out of nowhere and surprising the audience with stunning acts of craftsmanship. In it’s 92^nd year, this Bhowanipore Club brought together the designer-sculptor duo Saumik Chakraborty- Piyali Sadhukhan to create the theme – Manobawtar Milan Utsav or the Festival of Humility. One of the most underrated artistes of recent years, the designers presented this theme on a large canvas. A cavalcade of full-sized posing wooden statues lined up the passageway, leading to a meditating Shiva sitting outside the main sanctum aptly built up the storyline for the theme in display. Red and light Beige has been the favourite colour scheme for this designer couple and no wonder, they did a fabulous job of creating an aura of warmth in and around the Mandap. Piyali Sadhukhan is arguably one of the best image-makers amongst the current lot, and she delivers an exquisite art-piece. The entire pavilion reeked of class, sobriety and pomp, a combination seldom achieved.

The Dancing cavalcade

Shiva effigy at the Sanctum

Brown and beige Background for the Imagery

A Gorgeous Image

Master'da Smriti sangha (2019)         

The eastern rims of the megapolis have over the past few years given rise to some unfancied clubs which not only have surprised the established committees with inspiring themes and displays. In spite of the quality, these clubs don’t generally get the usual Puja traffic they deserve due to the extremity of their whereabouts. Unfortunate, as it might seem some of the clubs have tried to overcome this locational disadvantage by pumping in aggressive and insistent outdoor & social media promotions much before the advent of the festivities. Manas Ray probed on the impacts of social sins like lust, power, ambition in his symbolic rendition - "Tawbo Chawrono Tawley". The entire pavilion depicted a linear storyline showcasing the age-old human drive to accomplish various worldly pleasures culminating into eventual submission to the Almighty. Installations lined up the facades of the sanctum while the interiors were pristine with Chalchitra Art. Sanatan Pal’s deity was also top notch making this one of the striking performances of the year.

The elaborate entrance denoting the Theme - "Tawbo Chawrono Tawley"

Installations & Artworks enlarging the story of Human aspirations

Chalchitra Murals inside the Mandap 

Audience perspective of the Interiors

The Enchantress

These were some of my picks over last 14 years.

I guess some would agree, whilst there would be others who would have their own selections. Feel free to add to this list in the comments section and also reasons why you think they should be a part.